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Chap. V. LORENZO DA S. SEVERINO. Ill and even smoothly coloured. But better still, on the wall to the left of the entrance, a Virgin, of slender shape, sits on a cushion, and raises with a delicate hand the veil which covers the child, slumbering on her lap, — a graceful idea, spoiled in part by the ugly type of the infant, but in the spirit of the Gubbians. The Virgin’s oblong head, and thin pinched features, her waving hair, and gold-embroidered veil recall at once those in panels which tradition assigns to Angioletto, and brings to mind Gentile da Fabriano; whilst the soft and brightly har monized colour, the minute and precise contours, and la boriously finished details surpass those of Ottaviano Nelli. 1 Lorenzo and Jacopo 2 are fair Umbrian workmen, fol lowing the custom of their country, and heedless of mo dern improvements, untaught in the essential laws of pure 1 On the border beneath the cru cifixion, one still reads: “Anno domini MCCCCXVI de XVIII Ju- lii Laurentius de Santo Severino et Jacobus frator ejus hoc opus fecerunt.” The figures in the cru cifixion are of life size. The wall to the right as you enter, is divid ed into a double course, in the highest of which are the vision of the angel to Zacharias; the salu tation; the birth of S. John; Za charias writing the name; the cir cumcision, and a scene in which Zacharias takes the hand of the Virgin in the presence of the kneeling Anna. This last piece is not without feeling, but the Vir gin’s head is restored. Some grace may be conceded to the figures in the salutation, and the dresses are in the style of Gentile daFabriano. The infant precursor in the cir cumcision is deformed and with out any neck. In the lower course, >S. John meeting Herod on horse back, and reproaching him, is a much injured fresco, whore the feeble form of the Baptist is con trasted with better ones of the by standers some of which, as stated in the text, are portraits less ugly in type than the more fanciful faces of others. Thes.e portrait figures too are softly and truthfully coloured. Next we name the Bap tism which is marked by very poor forms of nude. An Eternal looking down is a caricature, and a curious fancy is shown in leaves of trees shaped like conchs with heads of cherubs issuing from them. In the sermon of S. John there is again an approach to the style of Gentile da Fabriano. The subjects on the wall pierced by the door, are in part gone, in part concealed by a gallery. On the side to the left most of the incidents are much in jured by restoring, and others are entirely repainted. i We know no more of Jacopo than is here stated. In the sacristy of the oratory are two standards, in one of which the Sermon of S. John is almost all repainted, but which still betrays a style like that of the frescos, whilst in the other is the crucified Saviour, in the same state, suggesting similar remarks.